The first piece represents a human being. The overall size of this piece seems not particularly large. Some type of wood could possibly be the material of the piece. Using simple tools, such a knife to carve could have been used to produce it. This piece contains some prominent features, particularly the breasts, hips and the buttock.…
Here the images are very frontal, no longer do you see the naturalism found in the classical period, instead we find two dimensional figures, unproportionate bodies and lack of depth. We can see this lack of proportion in the sizes of the…
This can be perceived in the Relief of Princess with an Earring. Before the Amarna period pharaohs are portrait idealized, masculine and followed the cannon of proportion and women are shown feminine and represent fertile figures. Figures seemed to be depicted static and timeless. Conversely, during the Amarna period, and demonstrated in the Relief of Princess with an Earring, both narrative and movement arise in art. For example, here Akhenaten is represented both masculine and feminine.…
The kneeling figure of Hatshepsut depicts a fascinating custom of the Egyptian culture from around 1473 to 1458 BC. The figure which is about 8 inches shows her as an Egypt male pharaoh. The figure of the Virgin, on the other hand, represents Mary the mother of Jesus, and it is curved to symbolize a woman. It represents a central object of worship whereas that of Hatshepsut portrays a ruler. However, the two pictures have a similarity such that both have vital roles in their respective societies.…
Chapter Six Outline A. REPRODUCTION AND SEXUALITY I. We already know that food and shelter play an important part in our basic needs for survival, but so does reproduction and our sexuality. Different cultures display fertility and sexuality in different ways. B. THE PROMISE OF FERTILITY A. Fertility Goddesses and Gods: I.…
The form is based on her layering technique she is well known for, there could be hundreds of layers. This piece has flow to it, it feels a little celebratory at first, but if you study it you will find your eye moving from the choppy bright colors toward the top of the piece to trying to understand the more subtle black, and grays that don’t have specific shapes like the vibrant colors. The arches of course help bring your eye through the piece and direct you to her next…
There are examples of line, because there are two thin stripes along either side of the piece. There is an example of shape/form of the actual woman’s face which is the central point of attraction in this piece. A large amount of space is being used in this…
Women in History: Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting Surrounded by portraits of and by male artists, Artemisia Gentileschi’s (1593-1652) oil on canvas Self-Portrait as the Allegory of Painting (La Pittura) 1638-39 stands out in the midst of Vancouver Art Gallery’s “The Royal Collections: Portrait of the Artist” exhibition. As one of the only woman artist portraits, it pronounces itself in entirety to symbolise the prominence she has given females in history as she paints herself as La Pittura. She depicts herself not as females had been seen before, but as a hard working artist in the MIDST of creating a work of art. One of the most recognizable writers of Artemisia’s Self-Portrait and Biography Mary D. Garrard had stated “[she] made an audacious claim upon the core of artistic tradition, to create an entirely new image that was quite literally unavailable to any male artist]”, and this is dominant reasoning for the intrigue Artemisia contains as a historical female figure…
The composition of the three goddesses in the panel are all overlapping each other to show movement as they frantically search for Hades. When looking at the drapes of Demeter, Artemis, Aphrodite, and Athena, they all follow the wet drapery method that has been used since the Classical Period in Greece. The artist is able to show the wet drapery method by making the drapes of the figures in low relief so that their legs are present. However, when analyzing Iris, she is not shown in the wet drapery method because the artist wanted to show movement. The artist is able to accomplish this by sculpting the drapes of Iris to seem as if they are flowing in…
Her almond shaped eyes cover the largest amount of space on her face. Above her eyes are carved domed arches that represent eyelids and above her eyelids are engraved bends that serve as eyebrows. Within the oval shaped eye-sockets are two slightly engraved circles depicting the iris and the pupil, and create the impression the woman is glancing to the side. Her nose protrudes from the rest of her face and consists of two vertical linear lines that originate at the inner corner of her eyes and enclose with a horizontal line slightly above her lips. The lips appear very small and express a neutral…
This painting is Mannerist because her body has abnormal proportions that are unbalanced and…
Justinian the Conqueror (aka The Emperor Triumphant, Barberini Ivory) is thought to have been created in Constantinople (Byzantine) in the early 6th century. The artist is unknown. It is a diptych panel in five parts. The pieces’ dimensions are: 32.4 cm by 26.8 cm by 2.8 cm deep.…
The most fascinating thing about art is the difference and diversity between works of art. The drastic uniqueness of arts between periods is something that is interesting to look at because one gets to see how much changes can be made due to cultural influences and time. After visiting the Met and seeing the works of art in person, I have chosen the Statute of Dionysus Leaning On A Female Figure and the Standing Buddha Offering Protection to explore in depth. The Standing Buddha Offering Protection is an Indian sculpture made during the late 5th century. It is only 85.5cm tall and it is constructed out of red sandstone.…
Although Giotto’s and Cimabue's ‘Virgin and Child Enthroned” share the same biblical subject of the Virgin Mary and the Christ child, they differ in a number of significant ways that reflect their respective embodiments of the Byzantine style in the early 13th century. Upon first glance the paintings are strikingly alike. They share a long pentagon general shape, position of the baby Christ upon the lap of the Virgin Mary and the Virgin Mary upon her throne, and a gold background that make the setting appear to be in more divine location rather than on earth, but as we look towards the focal point we can pinpoint the most apparent difference - the portrayal of the Virgin Mary. Cimabue closely follows the traditional Byzantine iconography…
This could tell the viewer something of what the artists though of gender roles at the time. It was a new idea for most and many artists did not accept it thus rarely allowing women into advanced forms of artistic education. Though this image clearly states the artist's possible perspective on gender roles it also holds an underlying reference to the current era. Though the woman has control of the art in her sketching the image around her depicts a landscape, something that women were, at the time, allowed to create. Ultimately rounding back to though women were granted with the chance to make art freely they had limitations as an artist, in which landscape was one of the only forms of art they could create besides still life, genre, and…